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 David Bowes  (1957 - )

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Lived/Active: New York/Massachusetts      Known for: figure-modern, abstraction

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Ad Code: 3
David Bowes
from Auction House Records.
Beacon of My Desire, 1985
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:

The following information was submitted by the artist:

David Bowes is an American painter, born in Boston, Massachusetts in 1957, and first recognized during the early 1980s in New York's East Village. Bowes' contemporaries include artists George Condo, Keith Haring, and Jean Michel Basquiat.

Solo Museum Exhibits:
1987 Galerie des Arenes, Musee d'Art Contemporain, Nimes, France

Group Museum Exhibits:
2006 “Radical NY! The Downtown show: the New York art scene, 1974-1984 and Abstract Expressionism: 1940-1960,”  Austin Museum of Art - AMOA, Austin
“The Downtown Show, The New York Art Scene 1974-1984," Grey Art Gallery, New York University, New York, and Andy Warhol Foundation, Pittsburgh
1999 La Biennale di Venezia:
“Sanoja - Words - Paroles. An Exhibition of Artists Poems,” Venice, Italy
1992 “Terrae Motus,” Reggia Reale, Caserta, Italy

1991 “The Art of The 1980's, Selections from the collection of The Eli Broad Family Foundation,”         
Duke University Museum of Art, Durham, NC

1989 “1979-1989 American, Italian and Mexican Art from the Collection of Francesco Pellizzi,”  Hofstra University, Hempstead, NY

1986 “Terrae Motus,” Villa Campolieto, Ercolano, Italy
 “Arte santa,” Pinacoteca Comunale, Ravenna, Italy
1985  “Kunstliche Paradiese”, Folkwang Museum, Essen - Kunstverein, Munich, Germany “The Classic Tradition in Recent Painting and Sculpture,” Aldrich Museum of Contemporary Art, Ridgefield, Connecticut

Selected bibliography:
"Kukkia on lupa kuvata,” Helsingen Sanomat, Kulttuuri, December 3, 2006
Diacono, Mario, “Crashed Allegory,” text for the exhibit “You Are Here,” Mario Diacono at Ars Libri, Boston 2006/ 2005
Giacomelli, Marco Enrico, “David Bowes- Arcadien, Torino, Galleria In Arco,”, February 17, 2005
Beatrice, Luca, “Arcadien,” David Bowes (Torino: Galleria In Arco, 2005)
Ratcliff, Carter, “David Bowes at Annina Nosei - New York,” Art in America, September 2002
Sanoja - Words - Paroles (Helsinki: Tapio Books, Tapio Oy, 1998)
Beatrice, Luca, “Camminando verso la strada che porta indietro (where is D.B.?),” Opere scelte  (Torino: Galleria In Arco, and Trento: Studio d’Arte Raffaelli, 1997)
McCormick, Carlo, “The Getaway,” Open City (New York: Thomas Beller and Daniel Pinchbeck 1995) illustrations by David Bowes
Bonuomo, Michele, “La Camera delle meraviglie,” (Milan: Gian Ferrari Arte Contemporanea, and Rome: Gian Enzo Sperone, December 1993)
David Bowes (Florence: Giampaolo Becherini e Piero Carini) with four poems by the artist
Tutti questi mondi (Prato: Galleria Carini, 1994)
Yablonsky, Linda,  “David Bowes,  Sperone Westwater,” Artforum, January 1993, pp. 83-84
Bonney, Anney, “Interview with David Bowes,” Bomb Magazine issue 49, Fall, 1993
Rosenblum, Robert, “David Bowes,” Universidad de Mexico, #514, November 1993
Ebony, David, “David Bowes at Sperone Westwater,” Art in America,  February 1993,  P. 104
Rosenblum, Robert, David Bowes (Monterrey: Galeria Ramis Barquet, 1993)
Trimarco, Angelo, “E Pulcinella incontro la sua geisha,” Il Mattino, Anno CI -N. 184, July 7, 1992  p.15
“Goings on About Town -David Bowes,” The New Yorker, October 12, 1992,  p. 18
Mollica, Franco, “La pittura babelica di un postmoderno, I quadri del newyorkese Bowes esposti a Napoli da Lucio Amelio” Il Mattino,  July 25, 1992
Sarno, Marco, “Terremoto a Napoli,” La Republica, Il Venerdi (supplement) November 20, 1992  pp. 113-114
Newhall, Edith, “Galleries: David Bowes,” New York Magazine, September 14, 1992,  pp.72-73
Pedersen, Victoria, “Best of Art, Gallery Go’Round: David Bowes,” Paper Magazine, October 1992
Terrae Motus, Reggia Reale, Caserta (Napoli: Fondazione Amelio, Electa Napoli e Guido Editori,1992)
The Art of The 1980's, Selections from the collection of The Eli Broad Family Foundation (Durham, NC: Duke University Museum of Art, 1991)
Ratcliff, Carter, “The Idea of Infinity in the Art of David Bowes,” New Paintings & Cibachromes 1984-85, (New York: Vrej Baghoomian Gallery, and Santa Monica: Fred Hoffman Gallery 1990)
Cibachromes 1986-87 (Geneva: Galerie Eric Franck, 1990) text by the artist
Evans-Clark, Phillipe, “David Bowes, Vrej Baghoomian,” Art Press, July-August 1989
Pedersen, Victoria, “David Bowes, Sci -Fi Topography, Chinoserie Whimsy, Future-past Idols,” FlashArt, October 1989
1979-1989 American, Italian and Mexican Art from the Collection of Francesco Pellizzi,  (Hempstead, NY: Hofstra University, 1989) with essays by Francesco Pellizzi, Joseph Masheck,
Pamela Gettingter, and David Shapiro
Castle, Frederick Ted, “The Illusions of David Bowes” David Bowes-Art Random (Kyoto: Kyoto Shoin International, 1989)
Ratcliff, Carter, “David Bowes: New Paintings,” (New York: Vrej Baghoomian Gallery, 1989)
Evans-Clark, Phillipe, “David Bowes, Vrej Baghoomian,” Art Press. September 1988
Leigh, Christian, “David Bowes, Mario Diacono Gallery, Boston,” Artforum, December 1988
Temin, Christine, “Perspectives: Spare, echoing spaces test reality and illusion,” Boston Globe,  October 6, 1988,  p. 102
Stepken, Angelika, “David Bowes, Galerie Sonne, Berlin,” Artscribe, May - June 1987
David Bowes (Nimes, France: Musee d'Art Contemporain, 1987)
Terrae motus, (Naples: Fondazione Amelio, 1987)
Bowes, Kunc, Lisanti, Mirri, Montessano, Ontani, Salvo (Rome: Monti, associazione culturale, 1987)
Ainardi, Dolene, “David Bowes, Galerie Eric Franck,” Art Press, January 1986
Trimarco, Angelo,  “Un viaggio sentimentale,” Il Mattino, Napoli June 10, 1986
Bonuomo, Michele, “Sentimental Journey,” (Naples: Informatore d’arte, numero 4, May 1986 )
Arte santa, (Ravenna: Pinacoteca Comunale, 1986)
Mueller, Cookie, “David Bowes,” Saturday Review, July-August 1985,  p.32
Krause, Manfred, “Ein Blicke fur fremde Welten,” Westdeutsche Allgemeine Zeitung (Essen), September 1985
Hapgood, Susan, “David Bowes, Tony Shafrazi Gallery,” Flash Art, October-November 1985
“Traumwelt, aber praizise konstruiert,” Neue Ruhr Zeitung, September 21, 1985
Wiesel, Miriam J., “Kunstliche Paradiese,”  Wolkenkratzer Art Journal, November-December 1985
Schmidt-Wullfen,  Stephan, “Kunstliche Paradiese,” Flash Art, December 1985
Glueck, Grace, “Art View. When Today’s Artists Raid the Past,” New York Times, July 21, 1985
Ainardi, Dolene, “David Bowes ‘Le P’tit Dej’ d’Orphee’ Travaux recents,” Nouvelles de Champel No. 74,  November 1986
Evans-Clark, Phillipe, “Neo-Surrealism, or the Archetype of the Artist as an Ostrich,” Arts Magazine,  December 1985
Becker, Robert, “David Bowes & George Condo,” Interview,  May 1985
Kunstliche Paradiese, (Essen: Museum Folkwang, and Munich: Kunstverein, 1985) forward by Zdenek Felix, essay by Jan Van Adrichem and Martin Van Niewenhuyzen
Mueller, Cookie, “Art and About,” Details, December -January 1984-85
Moufarrege, Nicholas, “The Mutant International VII,” Arts Magazine, March 1984
Lichtenstein, Therese, “David Bowes,” Arts Magazine, April 1984
Evans-Clark, Phillipe, “David Bowes, Annina Nosei Gallery,” Art Press, May 1984
Castle, Ted, “David Bowes, Annina Nosei Gallery,” Art in America, September 1984
Hommage a Picasso (New York: Tony Shafrazi Gallery, 1984)
“Portfolio,” Paris Review, #91, Spring 1984
Moufarrege, Nicholas, “The East Village,”  Flash Art, January 1983
Tarzan, Delores, “Self-Portraits,” Seattle Times, August 7, 1983
Descombes, Mireille, “La demarche ambigue de David Bowes,” Tribune de Geneve, September 27, 1983
Woodville, Louisa,  “Summer Group Show,” Arts Magagazine, September 1983
David Bowes (Geneva: Galerie Eric Franck, 1983) Text by the artist
Self Portraits (Los Angeles: Los Angeles Municipal Art Gallery, 1983)
Bomb Magazine, Issue 8, Winter, 1993
Castle, Ted, “Jean Michel Basquiat,” Artistes, January-February 1982
Moufarrege, Nicholas, “The State of New York Art,” Gentleman’s Quarterly, December 1982

In the September 2002 issue of Art in America the poet Carter Ratcliff wrote:

"....Bowes practices what might be called hieroglyphic figuration. With just a few strokes of a loaded brush, he can indicate an elaborately costumed figure or the sinuous gestures of a tropical vine. Of course, some renderings are more hieroglyphic than others. The larger the form, the more fully Bowes employs the familiar devices of figure painting. Modeling becomes a painterly caress as he gives volume to the voluptuous shape of the nude woman who, in half a dozen recent pictures, emerges from the forest shadows with a crown of flames around her head. Among this woman's distant ancestors are the muscular figures that populate William Blake's prophetic books. She is related, as well, to Venus and the Madonna. This feminine ideal embodies all the yearnings -from the sensual to the intellectual- that generate Bowes's distinctive utopia, a realm ruled equally by passion and refinement".

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